Download Composer Portraits Missy Mazzoli

Miller Theatre at Columbia University
2014-15 | 26th Season
Composer Portraits
Missy Mazzoli
ETHEL
Mivos Quartet
Marnie Breckenridge, soprano
Jody Redhage, cello and voice
Nathan Schram, viola
Robert Simonds, violin
Edward Poll, conductor
Thursday, February 5, 8:00 p.m.
From the Executive Director
I’m excited to announce that last month Miller Theatre was honored with the ASCAPChamber Music America Award for Adventurous Programming. This is the fourth
time the award has been given to Miller Theatre, and the second time during my
tenure as Executive Director. It’s a great honor to be recognized by these two national
organizations.
The award recognizes Miller’s commitment to making contemporary music a vibrant
part of life in New York City, so it’s apt that we’ll continue our winter programming
tonight with a celebration of one of New York’s brightest young composers, Missy
Mazzoli.
The first Mazzoli piece I heard was an excerpt from her opera, Song from the Uproar,
but I quickly discovered how versatile a composer she is. Tonight, you’ll hear an excerpt
from her new opera, solo works, and string quartets—Death Valley Junction is a special
favorite of mine. This repertoire paints a diverse picture, but it’s still only a slice of her
rapidly growing body of work; I’m excited for what’s ahead.
Our Portrait on February 19 features Italian composer Stefano Gervasoni, whose work
I was introduced to by the ensemble Yarn/Wire. They made their Miller debut at a
Pop-Up Concert season last year, the start of what is now an ongoing collaboration. Not
only is Gervasoni’s work exciting, dynamic, and extremely difficult, but this Portrait
presented the opportunity to collaborate with two other young New York ensembles.
Like Yarn/Wire, Ekmeles and the Mivos Quartet made their Miller debuts at recent
Pop-Up concerts. All three ensembles are well on their way to major careers, and I love
that Miller can be a showcase for their talents.
I hope there’s lots of new music in your plans for 2015 – we certainly have a great lineup
to share with you at Miller Theatre!
Melissa Smey
Executive Director
Please note that photography and the use of recording devices are not permitted. Remember to
turn off all cellular phones and pagers before tonight’s performance begins. Miller Theatre is ADA
accessible. Large print programs are available upon request. For more information or to arrange
accommodations, please call 212-854-7799.
Miller Theatre at Columbia University
2014-15 | 26th Season
Composer Portraits
Thursday, February 5, 8:00 p.m.
Missy Mazzoli
Missy Mazzoli (b. 1980)
Death Valley Junction (2010)
Dissolve, O my Heart (2010)
Mivos Quartet
Robert Simonds, violin
A Thousand Tongues (2009)
Jody Redhage, cello and voice
Harp and Altar (2009)
Mivos Quartet
INTERMISSION
Onstage discussion with Missy Mazzoli and Melissa Smey
Tooth and Nail (2010)
Nathan Schram, viola
His Name is Jan (2013)
Marnie Breckenridge, soprano; ETHEL; Edward Poll, conductor
Quartet for Queen Mab (2015) world premiere
Co-commissioned by Miller Theatre and ETHEL’s Foundation for the Arts
ETHEL
This program runs approximately one hour and forty-five minutes,
including intermission.
ETHEL’s commission of Quartet for Queen Mab was made possible
with support from the New York State Council on the Arts.
Major support for Composer Portraits is provided by the
National Endowment for the Arts and the Francis Goelet Charitable Lead Trusts.
About the Program
Introduction
by Paul Griffiths
“I want people to find something out about themselves through my music, something
that was inaccessible before, something that they were suppressing, something that they
couldn’t really confront….
I really think of my motives, my melodies, my harmonies, as being these things that are
very much alive. For example, what happens if this motive is in a spiral? What does that
mean? What does that look like? How does that translate musically?”
—Missy Mazzoli
The typical Mazzoli piece is calm and edgy, slow and hyper-energetic, solemn and
intense, hypnotic and wild. The typical Mazzoli piece dreams as it furiously dances.
The typical Mazzoli piece is many things at once. The typical Mazzoli piece is made
for audiences in concert halls and bars, opera theaters and art galleries. The typical
Mazzoli piece uses electronic means—samples, especially—along with the voices of
centuries-old instruments. The typical Mazzoli piece is designed for friends—she
plays keyboards in the group Victoire and has close connections with other musicians,
including those performing tonight—but there are also many typical Mazzoli pieces
that are not.
Born in a small town in Pennsylvania in 1980, Missy Mazzoli studied at Yale, at Boston
University, and, on a Fulbright, in The Hague with Louis Andriessen and Martijn
Padding. She then settled in New York, where she was executive director of the MATA
Festival (2007-10) and now teaches at Mannes.
Her career as a composer began in 2004-5 with pieces she wrote mostly for herself
or for small groups. A first orchestral piece, These Worlds Within Us (2006), won an
ASCAP Young Composers Award and was taken up by the Minnesota Orchestra after
its Yale première. Her growing reputation led to commissions from eighth blackbird
(Still Life with Avalanche, 2008), Carnegie Hall (The Sound of the Light, for five
instruments, 2008) and the Kronos Quartet (Harp and Altar, 2009). She was also busy
from this time writing scores for Victoire, whose debut album, Cathedral City, was
released in 2010. Violent, Violent Sea, composed for the League of Composers Chamber
Orchestra, was first performed here at Miller Theatre in June 2011, and was followed
by works for the Albany Symphony (Holy Roller, 2012) and the Detroit Symphony
(River Rouge Transfiguration, 2013). Through most of this time she was also at work
on an opera, Song from the Uproar, which came out of her fascination with the life and
writings of the Swiss explorer Isabelle Eberhardt and was presented at the Kitchen
three years ago. Next month sees the release of her second album with Victoire, Vespers.
Program Notes
by Missy Mazzoli
Death Valley Junction (2010)
Death Valley Junction is a sonic depiction of the town of the same name, a strange and
isolated place on the border of California and Nevada. The “town” is home to three
people and consists of a café, a hotel, and a fully functional opera house. Death Valley
Junction is dedicated to Marta Becket, the woman who resurrected and repaired the
crumbling opera house in the late 1960s and performed one-woman shows there every
week until her retirement in 2012 at age 87. The piece begins with a sparse, edgy texture
– the harsh desert landscape – and collapses into a wild and buoyant dance. Marta
Becket once compared herself to the single yellow flower that is able to, against all odds,
flourish in the desert. This piece attempts to depict some of her exuberant energy and
unstoppable optimism, and is dedicated to her.
Dissolve, O my Heart (2010)
Dissolve, O my Heart has its roots in a late-night conversation over Chinese food and
cupcakes with violinist Jennifer Koh. She told me about her Bach & Beyond project,
a program that combines Bach’s Sonatas and Partitas with newly commissioned
works, and asked if I would write a piece that referenced Bach’s Partita in D minor.
This request was, to put it mildly, utterly terrifying; the last movement of the Partita,
the Chaconne, is undoubtably the most famous piece of solo violin literature in
the world. It overwhelmed Brahms, has been subject to hundreds of transcriptions
and arrangements over the past two centuries, and is dizzying in its contrapuntal
complexity. But something about Jennifer’s enthusiasm was infectious, and I agreed
to the project before I realized what I was getting myself into. Jennifer seemed to
approach Bach through the lens of contemporary music, and I realized that this was
what this new piece should do as well.
About the Program
Dissolve, O my Heart begins with the first chord of Bach’s Chaconne, a now-iconic D
minor chord, and spins out from there into an off-kilter series of chords that doubles
back on itself, collapses and ultimately dissolves in a torrent of fast passages. The only
direct quote from the partita is that first chord, which anchors the entire piece even as
it threatens to spiral out of control. The title comes from an aria in the St. John Passion,
but has many potential interpretations.
Dissolve, O my Heart was commissioned by the Los Angeles Philharmonic and was
premiered in 2011 as part of their Green Umbrella Series in Disney Hall.
A Thousand Tongues (2009)
A Thousand Tongues was commissioned by cellist and vocalist Jody Redhage. This
piece is a short but intense response to the following text by Stephen Crane:
Yes, I have a thousand tongues,
And nine and ninety-nine lie.
Though I strive to use the one,
It will make no melody at my will,
But is dead in my mouth.
Harp and Altar (2009)
Harp and Altar was commissioned by the Kronos Quartet. At its core, this piece is a love
song to the Brooklyn Bridge. The title comes from a poem by Hart Crane, in which he
describes the Brooklyn Bridge as “that harp and altar of the Fury fused.” The borough of
Brooklyn is impossible to describe, but the Brooklyn Bridge seems to be an apt symbol
for its vastness, its strength, and its history. Halfway through the work the vocalist
Gabriel Kahane’s pre-recorded voice enters, singing fragments of the lines below from
Crane’s poem, The Bridge.
Through the bound cable strands, the arching path
Upward, veering with light, the flight of strings,
Taut miles of shuttling moonlight syncopate
The whispered rush, telepathy of wires.
Tooth and Nail (2010)
Tooth and Nail was inspired by the extraordinary musical traditions of Uzbekistan,
where jaw harp (also called Jew’s harp or mouth harp) plays a prominent role. The jaw
harp player consistently plucks the instrument, creating overtones and melodies by
changing the shape of his or her mouth, and the central Asian style takes this technique
to wild and beautiful extremes. I have created my own version of this music, based on
my memories of hearing Uzbek jaw harp players. The electronic part is made up almost
entirely of viola samples, allowing the live viola to play in counterpoint with itself.
His Name is Jan (2013)
His Name is Jan is the opening aria from my opera-in-progress Breaking the Waves, a
collaboration with librettist Royce Vavrek based on the film by Lars von Trier. Breaking
the Waves was commissioned by Opera Philadelphia and Beth Morrison Projects and
will premiere at Opera Philadelphia in September 2016. Set in the Scottish Highlands
during the 1970s, Breaking the Waves tells the story of Bess McNeill, a naïve young
woman who falls deeply in love with Jan, a hardened but compassionate oil rig worker.
The two marry despite objections by local church leaders. When Jan is paralyzed in
an accident, he insists that Bess seek new lovers, and in her guilt and despair Bess
comes to believe that her promiscuity is healing Jan’s broken body. She finds herself
caught precariously between her devotion to God and her fierce determination to
keep her husband alive at any cost. In this opening aria Bess asks the church elders for
permission to marry Jan.
Quartet for Queen Mab (2015)
Queen Mab is an elusive creature from folklore and literature, a tiny fairy who drives
her chariot into the nose of sleeping people. She enters their brains, eliciting dreams
of their heart’s desire. This quartet embraces the wildness of Queen Mab’s journey
and the dreams that result; Baroque ornaments twist around long legato lines and
melodies ricochet between players. The music follows a sort of intuitive dream logic
but returns again and again to the opening material, resulting in a sort of insistent,
insane ritornello. The work was commissioned by ETHEL, with support from ETHEL’s
Foundation for the Arts, and by Miller Theatre.
About the Program
Texts and Translations
His name is Jan
libretto by Royce Vavrek
His name is Jan
You do not know him.
He’s from the rig.
His name is Jan.
Jan, Jan, Jan…
A funny name for a man.
An outsider has wormed
His way inside of me.
Jan from the rig.
His name is Jan.
He wants to marry me.
Holy matrimony:
when two people are joined in God.
I want to be his wife:
Mrs. Jan from the rig.
His name is Jan,
And God will be witness
To our covenant.
The whole community
Will know our love.
Jan’s love of me.
My love of Jan.
Jan is my shaggy-faced man.
Jan is my strange, beautiful music.
His name is Jan.
His name sounds like church bells,
Jan, Jan, Jan…
God has given me a man,
You do not know him,
A Norwegian man
Jan, Jan, Jan…
A man that I’m to love forever.
With your permission.
With your permission.
About the Artists
ETHEL
Ralph Farris, viola
Dorothy Lawson, cello
Kip Jones, violin
Corin Lee, violin
Acclaimed as “unfailingly vital” (The New
York Times), and “downtown’s reigning
string quartet” (The New Yorker), ETHEL
invigorates the contemporary music
scene with exuberance, intensity, and
exceptional artistry.
ETHEL performs adventurous music
by celebrated composers such as Philip
Glass, Julia Wolfe, Phil Kline, Andy
Akiho, David Lang, John King, John Zorn,
Steve Reich, Anna Clyne, Kenji Bunch,
JacobTV, Don Byron, Marcelo Zarvos,
Evan Ziporyn, Judd Greenstein, Terry
Riley, Kimo Williams and Mary Ellen
Childs.
ETHEL’s 2014-15 season celebrates
the diversity of regional American
music, anchored by tours of the multimedia work ETHEL’s Documerica, a
collaboration with guitar virtuoso Kaki
King, “Music of the Sun” concerts with
Taos Pueblo flutist Robert Mirabal,
and “Grace,” featuring music by Ennio
Morricone and Jeff Buckley. ETHEL is
Ensemble-in-Residence at the Grand
Canyon Music Festival’s Native American
Composers Apprenticeship Project and
at Denison University, and is Resident
Ensemble at The Metropolitan Museum
of Art’s Balcony Bar.
Founded in 1998, ETHEL is comprised
of Ralph Farris (viola), Dorothy Lawson
(cello), Kip Jones (violin), and Corin Lee
(violin).
Mivos Quartet
Olivia De Prato, violin
Joshua Modney, violin
Victor Lowrie, viola
Mariel Roberts, cello
The Mivos Quartet, “one of America’s
most daring and ferocious new-music
ensembles” (The Chicago Reader), is
devoted to performing the works of
contemporary composers, presenting
new music to diverse audiences. Since
the quartet’s beginnings in 2008 they
have performed works by emerging and
established international composers
who represent varied aesthetics of
contemporary composition. Mivos
is invested in commissioning and
premiering new music for string
quartet, particularly in a context of
close collaboration with composers
over extended time-periods. Recent
collaborations include works with Mark
Barden (Wien Modern Commission), Dan
Blake (Jerome Commission), Richard
Carrick (Fromm Commission), Patrick
Higgins (ZS), Sam Pluta (Lucerne Festival
Commission), Kate Soper, Saul Williams,
Scott Wollschleger, and Eric Wubbels
(CMA commission). Mivos is committed
to working with guest artists, exploring
multi-media projects involving live
video and electronics, creating original
compositions and arrangements for the
quartet, and performing improvised
music. The quartet has appeared on
concert series including Wien Modern
(Austria), Transart (Italy), Music at the
Phillips (Washington, DC), Lucerne
Festival (Switzerland), HellHOT! New
Music Festival (Hong Kong), Festival
International Chihuahua (Mexico),
Edgefest (Ann Arbor), Asphalt Festival
(Germany), and Aldeburgh Music (UK).
Learn more at www.mivosquartet.com.
Soprano Marnie Breckenridge’s
versatility of roles range from highly
acclaimed performances of Lucia di
Lammermoor to Emily in Rorem’s Our
Town. Her excellent acting credits and
musicianship have brought her into
the worlds of television, voice-over and
theatre where she recently composed
the vocal lines for and sang the lead in
Wake at the Connelly (NYC), directed
by Mei Ann Teo and composed by Jon
Bernstein. Recent modern opera roles
include: Mother in David T. Little’s Dog
Days with Montclair Peak Performances
(and upcoming in 2015 at Ft. Worth Opera
and Los Angeles Opera), Sierva Maria in
Peter Eötvös’s Love And Other Demons at
Glydebourne Festival Opera, La Princesse
in Philip Glass’ Orphée and Margarita
Xirgu in Golijov’s Ainadamar with Opera
Parallele, her Berkeley Symphony debut
in Chin’s Cantantrix Sopranica with Kent
Nagano, and her Ravinia Festival debut
in Jake Heggie’s To Hell And Back with
Philharmonia Baroque, co-starring Patti
LuPone. Breckenridge is a featured soloist
on the 2012 New World Records album
of Victor Herbert songs and recently
made her European and Asian debuts as
Cunegonde in Candide with the English
National Opera, Prague State Opera, and
on tour in Japan where she was reviewed
as being “note perfect” (Prague Post) and
“simply terrific” (Opera Magazine, UK).
Jody Redhage, a passionate advocate of
creative new music and chamber music,
has been called “a new music dynamo”
(MusicWorks). Redhage has premiered
over 100 works, including almost 30 that
she has commissioned for her voice, cello,
and electronics from some of today’s most
talented composers. An active composer
herself, she writes for the band Rose &
the Nightingale, a group of improvising
multi-instrumentalists. Equally
experienced and comfortable as a player
of classical, new music, jazz, rock, pop,
improvised music, and recording session
work, Redhage is a mainstay within
several active and groundbreaking New
York scenes, contributing to the everincreasing 21st century blur of musical
boundary lines.
Redhage is a member of Best New Artist
Grammy-winner Esperanza Spalding’s
Chamber Music Society band, traveling
to five continents to support the release
of Spalding’s third record, featuring a jazz
trio, string trio (violin, viola, cello), and
backup vocalists. Redhage often works
as a recording session player, and has
performed and recorded for a vast array of
artists including My Brightest Diamond,
Fall Out Boy, Sufjan Stevens, Esperanza
Spalding, Neil Diamond, Sara Bareilles,
Jay-Z, Beyoncé, and Chromeo.
Redhage was a presenter on Audience
and Community Engagement for
the 2015 Chamber Music America
Annual Conference, and has received
grants from the NYC Dept. of Cultural
Affairs, NY State Council for the Arts,
Chamber Music America, and the Hertz
Foundation. Her critically-acclaimed
solo album of music for voice, cello, and
electronics, Of Minutiae and Memory, was
released on New Amsterdam Records.
Please visit www.jodyredhage.com for
more information.
Hailed by The New York Times as an
“elegant soloist” with a sound “devotional
with its liquid intensity,” Nathan Schram
is the violist of the Bryant Park Quartet
as well as a member of the Carnegie Hall
trained ensemble Decoda. Working with
many of today’s great composers he has
premiered music by Steve Reich, Becca
Stevens, Nico Muhly, Timo Andres,
Gabriel Kahane, David Bruce, Brooks
Frederickson, Elliot Cole, and Brad
Balliet. He is also a founding member of
the string trio Speed Bump, an ensemble
devoted to improvisation and performing
their own compositions. Nathan explores
other musical interests by playing with
an array of adventurous ensembles such
as Alarm Will Sound, ACME, New York
Baroque Incorporated, Le Train Bleu, and
the Wordless Orchestra.
Apart from performing, Nathan is the
Founding Director of Musicambia, a
New York based initiative establishing
a network of music conservatories
within prisons and jails in the United
States. He is an Alumnus of Carnegie
Hall and Juilliard’s Ensemble ACJW,
and a prizewinner of the 2007 Primrose
International Viola competition, the 2006
Corpus Christi Concerto Competition,
and a First Prize winner of the 2008
ASTA National Solo Competition. He
studied at Indiana University with Alan
de Veritch and at the Escuela Superior de
Música Reina Sofia in Madrid, Spain with
Diemut Poppen and Yuval Gotlibovich.
About the Artists
Nathan has performed chamber music
alongside Itzhak Perlman, Colin Carr, Gil
Kalish, Phil Setzer, Atar Arad, Joshua Bell,
Ron Leonard, and Jonathan Carney.
Nathan has performed chamber music
alongside Itzhak Perlman, Colin Carr, Gil
Kalish, Phil Setzer, Atar Arad, Joshua Bell,
Ron Leonard, and Jonathan Carney.
Robert Simonds is the Principal Second
Violin of the Louisville Orchestra and
a member of the Cabrillo Festival of
Contemporary Music in Santa Cruz, CA.
In addition to performing the music of
leading contemporary composers, Rob is
also dedicated to working across genres
and has produced and performed in small
ensemble partnerships with indie-folk
artists Joe Pug, Ben Sollee, Tobie Milford,
and The Low Anthem.
Rob began his professional orchestral
career with the Richmond Symphony
Orchestra, which was followed by
a longtime position in The Phoenix
Symphony. He regularly returns to
Arizona to play with the Downtown
Chamber Series, as well as the recently
opened Musical Instrument Museum.
His work in Arizona also includes
performances with the Arizona Music
Fest Orchestra. As a substitute musician,
he has worked with the orchestras of
Minnesota, Cincinnati, Indianapolis,
St. Louis, Columbus, and Virginia. For
several summers he was a member of the
Colorado Music Festival in Boulder.
Edward Poll, from Bryn Mawr, Pa., is a
Rita E. Hauser Conducting Fellow at the
Curtis Institute of Music, where he works
under the mentorship of Yannick NézetSéguin. Mr. Poll was assistant conductor
at the 2014 Glimmerglass Festival, and
recently made his debut with the Buffalo
Philharmonic at the invitation of JoAnn
Falletta. He has conducted workshops of
new compositions for Opera Philadelphia
and Washington National Opera.
Also a composer, Mr. Poll is the winner
of an ASCAP Morton Gould Young
Composer Award and two Singing City
prizes, His first opera, based on Lorca’s
play, Yerma, was premiered in New York
at the NOMADS Festival. His second
opera, in process, is set to religious texts
by Auden and Yeats. His works have been
performed by NonSequitur and pianist
Beth Levin, among others. He was a
summer fellow at the European American
Musical Alliance in Paris from 2006 to
2008, and studied composition at the
Freie Universität in Berlin in 2010 and
2011.
Mr. Poll received a bachelor’s degree in
composition from Columbia University,
where he studied with Fabien Lévy and
Fred Lerdahl. He holds a master’s degree
in orchestral conducting from Mannes
College, where he studied with David
Hayes and Joseph Colaneri.
About Miller Theatre
Miller Theatre at Columbia University is the leading presenter of new music in New York
City and one of the most vital forces nationwide for innovative programming. In partnership
with Columbia University School of the Arts, Miller is dedicated to producing and presenting
unique events, with a focus on contemporary and early music, jazz, and multimedia. Founded in
1988, Miller has helped launch the careers of myriad composers and ensembles, serving as an
incubator for emerging artists and a champion of those not yet well known in the U.S. A fourtime recipient of the ASCAP/Chamber Music America Award for Adventurous Programming,
Miller continues to meet the high expectations set forth by its founders—to present innovative
programs, support new work, and connect creative artists with adventurous audiences.
Advisory Committee
Paul D. Carter
Mary Sharp Cronson*
Stephanie French*
Marcella Tarozzi Goldsmith
Karen Hagberg
Margo Viscusi*
Mr. and Mrs. George Votis*
Cecille Wasserman*
Elke Weber
I. Peter Wolff*
Mark Jackson
Eric Johnson
Philip Mindlin
Linda Nochlin
Peter Pohly
* Miller Theatre Advisory Board member
Columbia University Trustees
Jonathan D. Schiller, Chair
A’Lelia Bundles, Vice Chair
Mark E. Kingdon, Vice Chair
Esta Stecher, Vice Chair
Rolando T. Acosta
Armen A. Avanessians
Andrew F. Barth
Lee C. Bollinger,
President of the University
William V. Campbell,
Chair Emeritus
Lisa Carnoy
Kenneth Forde
Noam Gottesman
Joseph A. Greenaway, Jr.
James Harden
Marc Holliday
Columbia University School of the Arts
Carol Becker Dean of Faculty Benjamin Horowitz
Ann F. Kaplan
Jonathan Lavine
Charles Li
Paul J. Maddon
Vikram Pandit
Michael B. Rothfeld
Claire Shipman
Kyriakos Tsakopoulos
Jana Hart Wright Dean of Academic Administration
Miller Theatre Staff
Melissa Smey Executive Director
Brenna St. George Jones Director of Production
Nora Sørena Casey Marketing & Communications Associate
Katherine Bergstrom Artistic Administrator
Rhiannon McClintock Executive Assistant
Aleba & Co. Public Relations
The Heads of State Graphic Design
Charlotte Levitt Director of Marketing & Outreach
James Hirschfeld Business Manager
Megan Harrold Audience Services Manager
Taylor Riccio Production Coordinator
Thanks to Our Donors
Miller Theatre acknowledges with deep appreciation and gratitude the following organizations,
individuals, and government agencies whose extraordinary support makes our programming possible.
$25,000 and above
Francis Goelet Charitable Lead Trusts
National Endowment for the Arts
$10,000 - $24,999
William V. Campbell
The Aaron Copland Fund for Music
Mary Sharp Cronson
Dow Jones Foundation
H. F. (Gerry) Lenfest
Fritz Reiner Center for Contemporary Music
at Columbia University
The Gladys Krieble Delmas Foundation
New York State Council on the Arts
The Fan Fox and Leslie R. Samuels Foundation
The Evelyn Sharp Foundation
Margo and Anthony Viscusi
CLC Kramer Foundation
Craig Silverstein
Carol Avery Haber / Haber Family
Charitable Fund
Karen Hagberg and Mark Jackson
Donella and David Held
Roger Lehecka
Philip Mindlin
Linda Nochlin
Jeanine and Roland Plottel
Jessie and Charles Price
Peter Pohly
Christopher Rothko
Cecille Wasserman
Janet C. Waterhouse
Elke Weber and Eric Johnson
Anonymous
Stephanie French
Claude Ghez
Mary and Gordon Gould
James P. Hanbury
John Kander
Mark Kempson and Janet Greenberg
Paul J. Maddon
Marian M. Warden Fund of the Foundation for
Enhancing Communities
Katharina Pistor
James Sharp
J. P. Sullivan
Cia Toscanini
Kathryn Yatrakis
June O. Goldberg
Richard Gray
Barbara Harris
Bernard Hoffer
Alan Houston and Lisa DeLange
Frank Immler and Andrew Tunick
Sandra and Malcolm Jones
William Josephson
Rebecca Kennison
L. Wilson Kidd, Jr.
Sandra Kincaid
Barbara and Kenneth Leish
Arthur S. Leonard
Richard H. Levy and Lorraine Gallard
Peter C. Lincoln
Patricia Lowy and Daniel Frank
Caroline and Anthony Lukaszewski
Marghretta McBean
Gerald McGee
Susan Narucki
Mary and Andrew Pinkowitz
Edmée B. Reit
Monique Rinere in honor of James F. Rinere
Carol Robbins
Esther Rosenberg and Michael Ostroff
William Ryall
Mariam Said
Eliisa Salmi-Saslaw
James Schamus and Nancy Kricorian
Elliot Schwartz
Anita Shapolsky
Timothy C. Shepard and Andra Georges
Gilbert Spitzer and Janet Glaser Spitzer
Peter Strauss
Jim Strawhorn
Larry Wehr
Seymour Weingarten
Ila and Dennis Weiss
Elizabeth Wheeler
Anonymous
$5,000 - $9,999
The Amphion Foundation
Ann and Gordon Getty Foundation
$1,000 - $4,999
Rima Ayas
Barbara Batcheler
Susan Boynton
Paul D. Carter
Hester Diamond
R. H. Rackstraw Downes
Marcella Tarozzi Goldsmith
Christine and Thomas Griesa
$500 - $999
Oliver Allen
Regula Aregger
Mercedes Armillas
ASCAP
Elaine S. Bernstein
Cedomir Crnkovic / Cavali Foundation
Kristine and Joseph Delfausse
$100 - $499
Gail and James Addiss
Edward Albee
Roger Bagnall
Sandra and Marc Bernstein
Andrew Birsh
Jim Boorstein
Alexandra Bowie and Daniel Richman
Elizabeth and Ralph Brown
Caplan Family Foundation
Richard Carrick and Nomi Levy-Carrick
Rashmy Chatterjee
Ginger Chinn and Reggie Spooner
Gregory Cokorinos
Merry Conway
Norma Cote
David Demnitz
Vishakha Desai and Robert Oxnam
Rosamund Else-Mitchell
Peter and Joan Faber
Ruth Gallo
Marc Gilman
as of January 20, 2015
This Spring at Miller
Composer Portraits
Thursday, February 19
Stefano Gervasoni (b. 1962)
“Something identifiably Italianate has persisted in Stefano Gervasoni’s music,” claims
The Guardian’s Andrew Clements, “whether in its moments of playful allusion or
expansive lyricism, its disorienting changes of direction or its Sciarrino-like scurries.”
Thursday, March 5
Augusta Read Thomas (b. 1964)
Augusta Read Thomas returns with a program including Resounding Earth, a
percussion tour-de-force that brings together bells from around the world to create a
“transfixing shimmer” (New York Times).
Bach, Revisited
Series season tickets still available!
Thursday, March 12
Michael Gordon + Bach
Michael Gordon blends “the fury of punk rock, the nervous brilliance of free jazz and
the intransigence of classical modernism” (New York Times), and this inquisitiveness
draws him to Bach, a harmonic and structural innovator.
Thursday, April 9
Helmut Lachenmann + Bach
An eye-opening dialogue between two composers who redefined the role of solo strings,
this program features Bach and Lachenmann works for solo violin and cello, an early
Lachenmann trio, plus a contemporary companion to Bach’s Two-Part Invention.
Friday, May 8
Sofia Gubaidulina + Bach
Sofia Gubaidulina shares a special affinity with Bach: both artists’ music is influenced
by their faith, and they share a unique blend of emotional transcendence and
compositional rigor.
Upcoming Events
Tuesday, February 10
doors at 5:30 p.m., music at 6:00 p.m.
POP-UP CONCERTS
Curtis 20/21 featuring the Curtis Guitar Studio
Thursday, February 19, 8:00 p.m.
COMPOSER PORTRAITS
Stefano Gervasoni
Yarn/Wire
Mivos Quartet
Ekmeles
Tuesday, February 24
doors at 5:30 p.m., music at 6:00 p.m.
POP-UP CONCERTS
JACK Quartet
Saturday, February 28, 8:00 p.m.
Church of St. Mary the Virgin
E A R LY M U S I C
From The Imperial Court
Stile Antico
S TAY T U N E D I N
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www.millertheatre.com • 212-854-7799
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2960 Broadway at 116th Street, MC 1801, New York, NY 10027